Summer Stock (1950) Reviews

Summer Stock occupies a unique place in the filmographies of Gene Kelly and Judy Garland. For Kelly, this was the last film before his reputation and legend was cemented by the glorious one-two punch of An American in Paris and Singin’ in the Rain. For Garland, it was the last film in her contract with MGM, and one of the last films she made before her untimely death. As a musical it’s a treat, not quite as classic as, say, Meet Me in St. Louis or An American in Paris, but enjoyable none the less.

It harkens back to an older kind of musical, the Andy Hardy series springs to mind with the “Let’s put on a show!” plot and good cheer. Garland, plump after a stint in rehab, portrays a farmer in the grand MGM way of doing things – we’re introduced to her singing in the shower, with full makeup on and expertly done hair. It’s a catchy little song about singing when you feel like it, and what a great way it is to start your day. If you sounded like Garland you’d probably agree. Even if you don’t, it’s hard to argue with it. Her spoiled sister is returning to town for a brief period of time after leaving it to go and become an actress. Her sister is full of actress-y affectations and theatrical diva tantrums and pretensions. She brings with her a handsome and athletic singer-dancer-actor-choreography-director, Gene Kelly (playing himself?), and his theater company. Naturally, hilarity and expertly performed musical numbers ensue.

Kelly and Garland were absolute geniuses when it came to musicals. What he could do with choreography, she could do with her voice. She was just as diverse and talented a dancer, even if she lacked his trained discipline and polish. She was the greater dramatic and comedic actress, but he could hold his own against her. They were dynamic and exciting partners. When they were on-screen they both commanded your attention. Unlike, say, Debbie Reynolds who did an amiable job but Kelly demanded your attention, Judy Garland wasn’t about to concede the audience’s love and attention to someone else. Sharing it was ok, as long as the love and attention was equal. Their dance-off in the barn is fantastic.

While their partnership is one for the ages, they each get incredible solo numbers. Gene Kelly dancing in the barn with a newspaper and some creaky floorboards is just as wonderful and memorable as the sequence in Cover Girl where he dances against his mirrored self. The amount of control he exhibits showcases that dancing is both an art and a sport. That he can spin around so much and stop on a dime is not an easy task, no matter how easy he made it look. That requires a degree of muscle control that would make some athletes weep. And Judy Garland, who appears slimmed down and looks fantastic during the musical sequences at the very end, gets “Get Happy.” Clad head-to-toe in black and performing a Bob Fosse-esque number, Garland proves that less is more. Everyone knows and remembers the “Get Happy” sequence, and it proves that no matter what Garland’s problems were off-stage, she was magical once she was on.